Please use the form below to submit your MIDI and MP3 files. All submissions are subject to editorial review. The Classical MIDI Resource cannot guarantee the posting of every submission (please see below). In general, CMR discourages submissions of previously posted compositions (unless the sequences are of higher quality than those already in the collection). If a work you are seeking is not posted here, you may wish to check CMR's listing of suggested links to other classical MIDI websites.

Criteria

Several large websites on the Internet boast classical MIDI collections in excess of 30 mb, or a repertoire that is so diverse that half of the composers listed are unfamiliar to most people. CMR doesn't make any such claims here. The goal of The Classical MIDI Resource is simply to bring to you a collection of the best, high-quality Classical MIDI files and MP3 renderings selected from among those files available on the Internet. In order to continue the tradition of posting only exceptional works, we have adopted and follow the following criteria:

Repertoire Selection

The repertoire falls into two categories: a) that which comes from the standard classical music repertoire (most files), and b) obscure works. If a well-known work does not appear on these pages, there are three possible reasons:
1) the work has not been sequenced
2) the work has been sequenced, but the quality of the sequence somehow falls short of this site's selection criteria
3) a suitable sequence of the work exists, but we haven't heard it (rare, but it happens; please bring such sequences to my attention)

The Classical MIDI Resource will occasionally post a rarely heard work of exceptional musical merit. Works of virtually unknown composers, musical curiosities, piano exercises or lesser works of great composers while appreciated, are not generally offered at this website.

Instrument Patch Assignments/Other MIDI Issues

Most of the scores for the works posted here call for the use of standard instrumentation. Bizarre patch selection (e.g. Bach on a distortion guitar, Mozart on steel drums, or Debussy on the banjo), while entertaining at times, will most likely detract from the musical aesthetic, and obscure the intent of the Composer. Likewise, regarding the use of Chorus (Controller 93), while it may make the piece sound "fuller" on some MIDI devices, it applies attributes to the aural character of the sound that affect its overall sonic characteristics and can make it sound unnatural.

Overall, chamber music done in MIDI format usually doesn't sound very good, because of limitations in MIDI technology. Solo string and wind patches don't do a sufficient job in approximating the sound of the real thing. Even with the newer sample-based MIDI technology, results often leave a little to be desired. The Classical MIDI Resource uses the latest in sampled technology, and feels that it still has a long way to go

Redundancy of a Particular Work

Submission of works which already appear in the collection are not refused. However, The Classical MIDI Resource may occasionally present a second version of any given composition, if it features a unique interpretation or orchestration. Furthermore, any sequence in this collection may be replaced at CMR's discretion with another sequence, if it is deemed to be superior to the first version. The Classical MIDI Resource strongly encourages Sequencers to devote their energies to sequencing some of the great works which have not yet appeared in MIDI format (of which there are many- see my wishlist for suggestions).

Accuracy of Execution and Interpretation

An accurate sequence will preserve the composers' intentions. This includes not only proper intonation, but also well thought-out and executed tempi, rhythms, dynamics, pedalings, articulations and phrasing. The Classical MIDI Resource feels that the sequencer is the conductor for this performance, and consequently, is free to 'interpret' the piece in virtually any way he or she likes. The only caveat here is not to be ridiculous. For example, don't flex your creative muscles by inserting extreme degrees of tempo, unless there's a valid, creative reason to do so. The late, great Leonard Bernstein created quite a stir in Russia back in the late 50's, when while on tour with the New York Philharmonic, he proceeded to double the tempo of all previous interpretations of the 4th movement of the Fifth Symphony by Dimitri Shostakovitch. While some raised their eyebrows in shocked disbelief, most of the audience reacted enthusiastically, so there is precedent for some experimentation.

Overall Musicality

The Classical MIDI Resource believes that certain step-recorded sequences, can tend to sound monotonous, unimaginative and machine-like. If the sequencer of a step-sequenced piece takes the time to make sure that there's some variances in rubato, velocity, and especially Controller 11 (Expression), then the piece will sound much better, and is more likely to be posted. Your ears are always the best indicator of whether or not a sequence passes the test. When in doubt, listen to the sequence repeatedly, and carefully. A few simple changes can sometimes make a large difference. On the other hand, some sequences are so poorly conceived that no amount of editing will rescue them.

The Work You Submitted Doesn't Get Posted

Well, it happens. It's not snobbery, or intended to hurt anyone's feelings, but yes, it happens...

In this case, 'good' means no wrong notes, played with feeling, with some rubato, and naturally occurring variations in velocity.  This is not saying that there are no step-sequenced pieces here, but the ones that are here sound excellent.  The MIDI Artist took the time to edit the piece by hand, and add the minor variations that make a piece sound 'performed', instead of laid out one note at a time.

I hope this has been helpful.